6  

CHAPTER 2

THEORITICAL FOUNDATION

2.1 Theories of Handmade Educational Toys

Toys, and play in general, are important when it comes to growing up and

learning about the world around us. The young use toys and play to discover their

identity, help their bodies grow strong, learn cause and effect, explore relationships, and

practice skills they will need as adults. Toys enhance cognitive behavior and stimulate

creativity. They aid in the development of physical and mental skills which are

necessary in later life.

2.1.1 Definition and Criteria of Handmade Educational Toys

An educational toy is a toy designed to teach people, typically children about a

certain subject or help them to learn a skill while they are playing. Educational toys are

good tools for educating children because they do not force children to learn but they

promote learning without the little ones realizing it. (Bollingi, 2009) There are various

kinds of educational toys around us such as puzzles or board games. An educational toy

does not mean always as a ready made toy which mass produced by a factory.

Educational toys can be as handmade toys with individual made characters so that the

quantity is limited and each has its own uniqueness.

Handmade educational toys are special. They can be made from fabrics, wood,

paper and even other materials such as used boxes and plastic bottles. Usually handmade

toys do not need batteries or other electrical sources, without video screen or techno

music things but still they can create imaginary worlds and hours of creative fun.

  7  

(Audet, 2008) Moreover they reflect a higher quality craftsmanship and can be

customized to match children’s needs and choices. (Kelley, 2011)

To determine whether a toy is an educational or not, it should have the characters

as follows:

• The toy trains problem solving: During the playing, children need to do

problem solving, finishing the making of the toy which has been assembled by

children in the beginning.

• The toy trains the basic concept: By tutorial in making this toy, children are

trained to develop their basic ability such as knowing the form, color, etc. Which

train the fine motoric senses.

• The toy trains meticulousness and severity: With educational toys, children do

not only enjoy the process of playing but also trained for their thoroughness and

severity during the making.

• The toy arouses creativity: The toy is able to trigger the creativity of children

that in the later years, children will have the ability to do innovation such as

creating an original creation by their own.

Figure 2.1. Examples of Children’s Handmade Educational Toys

Kites and Finger Puppets

  8  

2.1.2 Benefits of Making Handmade Educational Toys

According to psychologist named Charlotte Buhler, the third phase of children’s

psychology development (5-8 years old) is marked with the changing mood of playing to

be working actively, increasing the feeling of responsibility and sociability. Entering the

fourth phase (9-13 years old) the children’s desire for improvement is getting the fact of

reaching at the peak. Children have the tendency to own a tense feeling of curiosity and

that would be the exact time to get focus on training, observing and exploring. Based on

above information, the third and fourth phase are the right phases to develop children’s

creativity. One of the system to improve creativity is by making a toy of their own

through the process of art and crafts.

The main advantage that children obtain in making their own toys is to train their

fine motoric skills through the process of cutting, painting, glueing, arranging, etc.

Making an own toy means also to train concentration because while they are making

they must focus on the activity of making to get a satisfaction of result. Not realizingly,

the knowledge and ability to comprehend language are also trained because children will

read, understand and follow the instructions. The attentiveness and the neatness will also

be enhanced during the process. If parents join and accompany children in the process of

making, it will not only make a closer relationship between parents and children but they

are also trained to communicate and taught how important is to cooperate to reach a

target.

2.1.3 Benefits of Playing with Handmade Educational Toys

In the process of playing, there is certainly a process of movement in the child’s

body that playing enables to train the rigid motoric skills. Children will use their

muscles, stimulate the senses and explore the world. While playing, sometimes children

  9  

can find their own character and original personality. That time children will undergo a

feeling of joy, enjoy the freedom to choose and to express themselves. If a child plays

with a handmade educational toys with other people such as parents or friends, he/she

will be taught for doing the sharing, behaving fairly and understanding people’s opinion.

2.2 Theories of Publication

The meaning of publishing is to make content available to the public. Despite the

differences in terms among countries, publishing is usually applied to the text, images or

other audio-visual content on any medium including paper forms (book, newspaper,

magazine, etc) or electronic forms (website and e-book). Thus the word publication

means the act or process of publishing and refers to any copies as well.

2.2.1 Definition and Types of Book

A book is a collection of sheets of paper, printing or writing fastened together

along one edge, usually trimmed at the other edges and bound between covers to form a

single series of leaves. Each leaf consists of two pages.

In the modern technology, a book is produced in electronic format and is called

e-book. It is a digital version of paper books which can be downloaded from the internet

into a small hand-held devices called e-book readers. A book will always remain as a

way of passing information though it may completely change from paper to electronic

form.

Types of books can be classified as fiction or non fiction. Fiction is the form of

any narrative or informative work that deals with imaginary or non factual information

or events that is invented by the author. Fiction book contains fictitious stories and they

  10  

are completely untrue or fantasy. The most common form is the novel. Others are comic

books and graphic novels which is published with illustration. On the other hand, non

fiction is the form of any narrative or communicative work whose assertions and

descriptions are understood to be fact. Since it deals with factual events, descriptions or

observations, non fiction book mostly provides information or supporting a point of

view such as dictionary, atlas, telephone directory, textbook, encyclopedia, guidebook,

note book and diary. Besides fiction and non fiction, there are other types of book that is

not included in both categories. This kind of types are not commonly found under the

system such as albums, hymnals, prayer books.

2.2.2 The Anatomy of Book

According to Scott E Franson, an educator and children’s book writer, it is

important to know parts of a book and how to use them to tell a sequential story. Below

are the list of several important parts of a book:

• Book cover or book board: The front and back covers are named the book

boards.

• Joint: It is a small groove where the covers of the books are attached to the book

and bends when the book is opened.

• Spine: Located outside the book, it lists the title, author and publisher.

• Tail: The tail is the down-end part of the book.

• The Endpaper: The paper at the beginning and end of a book. The functions are

to attach the cover to the pages and for aesthetic purpose as a transition into the

story as it may be illustrated.

• Spread: The inside pages that show the content of the book.

  11  

• Gutter: The fold in the middle of the book. It is an element that needs to be a

major consideration when designing images for a book. Avoid placing important

elemens in or near the gutter as it may disappear after the book is bound.

• Fore edge: The edge part which is trimed and it is opposite of the spine. It can

sometimes be painted on higher end books.

• Dust jacket or dust wrapper: Hard cover books have protective paper or plastic

wrappers that wrap completely the covers of the book for protection. The dust

jacket usually displays artwork with the title, synopsis of the book and author

biography as well.

Figure 2.2. The Anatomy of Book (Franson, Children’s Publishing 101)

  12  

2.2.3 Designing and Publishing a Book

There are several phases of planning a book from scratch until publishing the

final product that are listed below:

1. Designing Phases

• Brainstorming: Process of getting large amount of ideas and even the smallest

ones to be notified

• Choosing: The next step is to choose the exact ideas according to the topic of the

book. This idea would be the primary concept which has to be developed.

• Developing: The selected ideas are developed more deeply to form a clear story

line and to be a complete concept.

• Writing: Start the process of writing, pay attention to the language structure and

words. The writer should try to keep the story line comprehensively and

attractively to the readers.

• Checking: Repeat to read the finished writing

• Correcting: Repeat to correct the writing whether there are words to be added or

erased.

• Finalizing: Editing the finished writing by rewriting the whole thing neatly. In

this process all idea would be gathered for the revision step of the previous ideas.

This process is done more seriously and carefully as it would be the final step for

the writing.

• Designing and making illustrations: If the manuscript is finished, it would be

easier to imagine with the right illustration design. Besides that, the choice of

color and typography could also be settled.

  13  

2. Publishing Phases

• Collecting the manuscript and illustrations: All the materials will be gathered

for the editing purpose.

• Editing the manuscript: The editor will do the editing process especially for the

structual language. It is necessary to be done for the correction of the structural

text of the manuscript based on the accuracy of the information or data involved.

• Layouting: Arrange the layout of the manuscript according the format of the

books concerned. In this process, the size of the text and the design elements

such as illustrations and photos will be settled.

• Printing and book binding: The finishing touch is to do the printing and the

book binding. The book can have either soft or hard covers.

From the above theory, it can be concluded that book is one of the communicative

media which is very common nowadays. Books are well-liked because they are

practical, easy to bring everywhere and readable at anytime. In addition, it is known that

types of book are miscellaneous and have to go through complicated process in

producing them.

2.3 Theories of Children’s Book

Children’s books are a great gift to the world, and are often trusted to develop

children’s minds and talents. A good children’s book will both convey and communicate

with the child’s mind. A good children’s book contains element of luxury such as nature,

emotions, and simple pleasures such as a balloon or a birthday cake. (Allesio, 2010)

  14  

Because children's books span such a wide age and reading-level range, there

have to be distinct divisions that break them down into smaller categories. Based on the

above statement, Children’s book can be categorized based on children’s age such as

baby books, toddler books, early picture books, picture books, easy readers, transition

books, chapter books, middle grade books and young adults. (Backes, 1989)

2.3.1 Picture Book

When speaking of children's books, most people have picture books in mind.

These are the books that combine illustrations with text. (Smith, 1991, p.106) A picture

book is a book in which the illustrations play a significant role in telling the story. It

covers a wide range of topics and styles. Plots are simple with one main character that

embodies the child's emotions, concerns and viewpoint.

Picture books are normally between twenty-four and thirty-two pages long.

These page counts include the front matter (copyright page, title page, dedication, and

acknowledgment pages). Word counts for picture books normally range between 200

and 1,500 words with 1000 being the average length. Non-fiction in the picture book

format can go up to age 10, 48 pages, or up to 2000 words.

The illustrations, which are on every page or every other page, play as great a

role as the text in telling the story. Some picture books have very small illustrations,

leaving room for a lot of text. Others have no words at all.

Picture books bring images and ideas together in a unique and exciting art form

that adults and children can explore at many different levels (Kiefer, 1995) Fine picture

books give children a window on the wider world, enabling them to know and learn

things outside their own limited domestic experience. (Lanes, 1980)

  15  

Figure 2.3. Examples of Children’s Picture Book

(Klassen’s “I Want My Hat Back” and Carle’s “The Very Hungry Caterpillar)

2.3.1.1 Types of Picture Book

There are several types of picture books such as the following:

• Board or baby books: These books are built to stand up to the destructive

tendencies of babies and toddlers. They are often made of cardboard and are

usually sixteen pages long with an illustration accompanied by only a couple of

words per page.

• Wordless picture books: Just as the name implies, these picture books do not

have text. The illustrations tell the story by themselves.

• Novelty books: These books have an additional element that make the book

interactive or otherwise entertaining. Some novelty books have pop-ups, pull

tabs, graduated page lengths, holes in the pages, or accessories that complement

the story.

• Concept books: These books focus on one concept and don't necessarily have to

tell a story. Whether the topic is something tangible or visible, such as colors, or

something more complex or psychological, such as overcoming a fear of the

  16  

dark, a concept book will explore its concept in whatever format suits it best.

(Walin, Gordon)

2.3.2 Informational Book (Guide Book)

Informational book is a book which is planned for helping readers to learn

further about obvious matters. This kind of book covers about information, instruction,

and advanced knowledge according the taken topic. According the American Heritage

Dictionary of English Language, 4th edition, a guide book is a book of references

especially which concern with instructions.

Figure 2.4. Examples of Children’s Guidebook

(Bolton Castle Guidebook and “100 Things to Make and Do”)

2.3.2.1 Typical Condition and Structure of Guide Book

According to Ratna Sajekti Rusli, a tutor in Universitas Indonesia (UI) Jakarta,

Besides the contents of the guide book, it also has a preface that explains the target of a

guide book, having a clear index, inserting a glossary for hard or unknown words and

specific terms, having a subject summary for each chapter, and adding the references

that is used in the guide book making process.

  17  

A guide book usually has a special comparable character which differs from

other books in some aspects, i.e.

1. Contents

The descriptions inside the book are supported with:

• Definite clear instructions in each chapter.

• A review or summary about the subject/topic.

• The writing is written systematically and concisely.

• A quiz and feedback are added at the end of the chapter.

2. Language

The language style and flow inside the book is usually:

• Using a familiar or oral language and not formal

• Using the system 6x6, that means in one paragraph there are only 6 sentences

and in one line there are only 6 words.

3. Reading sources

• A guide book is usually completed with reading sources or using references.

• A guide book is usually completed with advanced reading sources or broaden the

subject.

2.3.2.2 Function of Guidebook

The first target of a guide book is as a facility of study. A guide book delivers

information, deeper knowledge to reach something and has the role to become a

standard or tool assistant to do something and widen the knowledge of the reader.

Regarding that generally a guide book has the function as a tool (device) to

convey the study of subjects/objects, a guide book should be made the most practical

  18  

and the easiest to understand as possible without deleting the main learning material.

This has the intention to make the reader easy to comprehend the served information. It

is good enough if the guide book is made the most attractive as possible to allure and

inspire people to read.

2.3.2.3 Children’s Guidebook based on Toy Making Category

Toy making for children often involved with art and craft skills since in the

making process they will be doing creative activities such as painting, cutting and

weaving. The term Arts and Crafts usually suggests the entire array of actions and

avocations associated with individual's skill of making things by the means of own

hands. The word Craft is used with some specific connotations. Other than the artistic

skill, Craft requires a sort of technical know-how. The skill of arts and crafts can be

classified in various streams such as paper craft, woodworking, origami, doll making

etc. Usually the guide book which is significantly designed for the children are

illustrated with pictures and photographs to make the techniques more comprehensive

and easy adopting for the children and the instructors as well.

2.3.3 The Importance of Children Book

Reading children’s book is very important and beneficial for children’s

development. Children’s book enables both to teach and to entertain. In terms of

teaching, it can widen the knowledge and nurture the reader’s intellectuality. While in

terms of entertaining, children’s book can act as an exciting/comforting media during

leisure times. Children’s books also offer adventurous stories that could be an escapism

and comfort children with the knowledge that they are not alone in the world.

  19  

2.4 Theories of Principles and Elements of Design

Successful designers would have taken into account the fundamental principles

that enable to guide and affect their own creative design decisions. The primary

principles comprise: unity, variety, hierarchy, proportion, scale, balance, proximity,

rhythm and repetition. These principles should have basic components those are

elements of design to affect the internal relationships of the design i.e. shapes and

spaces, line, size, color, texture and typography. (Evans and Thomas, 2004, p.4)

2.4.1 The Principles of Design

Referring to Poppy Evans and Mark A Thomas in the book “The Elements of

Design”, principles of design are categorized into primary principles (unity and variety,

hierarchy, proportion) and support principles (scale, balance, rhythm and repetition,

proximity).

• Unity and Variety: Designers have to be able to achieve unity where the whole

graphic elements in a design are inter related that they form as a whole

intergrated system which all the graphic elements look unified and that can not

be described only as a deal of its part. (Landa, 2010, p.31) Unity is the control of

variety to create a visual interest. Anyway, too much variety without any

inconsistency in the design would cause confusion. (Evans and Thomas, 2004,

p.5)

• Hierarchy: Hierarchy is the established order, importance emphasis and

movement given to visual elements so that it would guide viewer into viewing

that are dominant of the design to those other supporting parts. By establishing

hierarchy, the path a viewer’s eye can be controlled by the designer when

  20  

scanning a design composition. (Evans and Thomas, 2004, p.7)

• Proportion: Proportion is the comparative size relationships which is present in

the outer dimensions. The most basic proportion are the outer dimensions of a

two dimensional design. (Evans and Thomas, 2004, p.8) For designers and

artists, proportion is concerned with appreciation of beauty or harmonious

relationship of elements within a whole. Based on ratio, there are proportional

systems in design, art and architecture that had been used for centuries. In

design, harmony is agreement within a composition where elements are arranged

and function in relation to one another to an agreeable effect. At present, a

designer can intentionally play with exact proportion in a composition to create

an exclusive beautiful graphic impact. (Landa, 2010, p.35)

• Scale: Scale is the relationship or a comparison of size between elements. In the

natural and constructed worlds, size, distance and configuration are constantly

compared. Scale can be used to create variety and emphasis in a design that can

help establish a visual hierarchy (Evans and Thomas, 2004, p.11-12)

• Balance: A design should be balanced because it prones to give a harmonious

sight to the viewer. Thus it concerns with the position of objects in a space.

(Landa, 2010, p.26) There are two types of visual balance, symmetric and

asymmetric. (Resnick, 2003, p.24) In symmetric balance, elements are put

symmetrically on either sides of a a central axis, that it makes a reflection of a

mirror image. (Landa, 2010, p.26) Whereas for asymmetric balance is referred to

as dynamic symmetry, is a manner to create a balance in visual by putting

uneven objects, arranging relationships between negative and positive space and

with type of forms as well. (Evans and Thomas, 2004, p.12)

  21  

• Rhythm and Repetition: Rhythm in visual term replaces the element of sound

and silence. (Evans and Thomas, 2004, p.14) In graphic design, a pattern of

elements with a strong a stable repetition can form a rhythm. It is the same as to

a beat in music that induces the viewer’s eyes to surround the page. A strong

visual rhythm helps in creativity consistency. Several elements can support to

establishing rhythm i.e. balance, color, texture, emphasis figure and ground

relationships. (Landa, 2010, p.30) Repetition happens when one or a few visual

elements is repeated a number of times with total stability like a pattern of

objects. It follows a pattern of related objects which put side by side to each

other. In graphic design, the repetition of rhtyhm is inserted by variation to create

visual interest. (Landa, 2010, p.30-31)

• Proximity: To place design elements is one of the most critical decisions for a

designer to make. Proximity is the position and space given to the placement of

elements in a composition. So the function of proximity is the placement of

elements together and apart from one another. To bring in images, text and other

graphic elements based on these features. In determining placement, grid systems

are used to guide designers. (Evans and Thomas, 2004, p.15)

2.4.2 The Elements of Design

Every design needs the elements of design which could be regarded as formal

elements or as the basic components that are needed to create a design. According to

Evans and Thomas, there are one or more basic elements such as shape and space, line,

size, color, texture and typography with the explanations as follows:

• Shapes and space: Shape is a mass which has its length and width. It will be

  22  

seen three dimesional when volume is added and thus they can describe as form.

This shape or form could be described as a meaning such as curvy shapes shows

about something sensual, whereas for more rough reflections could be described

with the pointy shapes. For space, it can be described as an area that is affected

by another elements so space refers to the distance between shapes and form.

The relationship of shape and space is conveyed into a relationship of positive

and negative space. (Evans and Thomas, 2004, p.20-21) There are three basic

shapes which considered to be the fundamental shapes found in all design, the

circle, the square and the triangle. (Resnick, 2003, p.23)

• Line: A line is a lengthened point and could be described as the path of a moving

point or it is also a mark made by a visualizing tool such as a pencil, a brush, a

software or others. The tools used to create the line would influence the quality

and the character of the lines itself such as it can be delicate or bold, smooth or

broken, thick or thin etc. (Landa, 2010, p.16)

• Size: Size shows the physical dimensions of an element or format. It shows how

big or small something is in scale to other objects. (Resnick, 2003) It is crucial to

decide the size of each elements to match nicely into a design. Size is a function

of portability and hand-eye manipulation. (Evans and Thomas, 2004, p.24)

• Color: Color is a description of light energy. It is the intristic hues found in light

and pigment that can enlighten the emotional and psychological dimensions of

any visual image like to fill up space and enrich it or to create emphasize on an

object. (Evans and Thomas, 2004, p.26) Color can create and convey a mood to

enhance a strong concept. (Resnick, 2003) Further information about color will

be explained in section 2.7 Theory of Color.

  23  

• Texture: It is the attributes of the surface of an object. It consists two types of

texture, tactile and visual. For tactile textures which can be physically touch and

felt on printed design can be used for embossing, stamping, engraving or

letterpress. Whereas for visual textures which are created by hand such as

painting, photography and many other image making idea are used by the

designers to create a variety of texture. (Landa, 2010, p.23)

• Typography: For a design, it is crucial to have the ability to communicate its

verbal message through visual means. (Evans and Thomas, 2004, p. 31) When

typographic signs are created with an informed eye and mind, they achieve both

lucidity and aesthetic beauty (Carter, Day and Meggs, 2007, p.111) Further

information about typography will be explained in section 2.8 Theory of

Typography.

2.5 Theories of Layout and Composition

Layout is the arrangement of the elements of design in relation to the space that it

occupies according to an overall design scheme. It could also be called the management

of form and space. The objective of layout is to present the visual and textural elements

that are to be communicated in a manner that enables the reader to receive it with less

effort. With good layout, a reader can be navigated through quite complex information

in both print and electronic media. (Ambrose and Harris, 2009, p.10)

Layout is all about composition. Composition is the visuals and type visuals

organization on a printed or screen page. Composition refers to how the pictures

arranged by the artist for any kind of position, how shallow, how deep, how gigantic,

  24  

how small etc. (Erbach, 2007) Robin Landa in her book titled Graphic Design Solutions

stated that there are three basic methods in composition. They are the following:

1. Type-driven

Emphasize on type / de-emphasize on visual, where the dominant force is the

type and the secondary is the visuals, or no visuals at all. The component could

be the type only, also called type as image.

2. Image-driven

Emphasize on visual / de-emphasize on type where the “hero” is the visuals with

little type, or a no-copy solution.

3. Visual-verbal strategy

Type and the main visual synergistic relationship, subordinate all other graphic

elements around.

2.5.1 Margin and Grid

Margin and grid are two invisible crucial elements in the process of layout as

both of them have the function as a standard of placing the layout elements such as text

elements (title, subtitle, body text, pull quotes, etc.) and visual elements (artwork,

pictures, photos, maps, info graphics, etc.). Margin determined the distance between the

edge of the paper and the space used by the layout elements. Margin also prevents the

layout elements are not too far from the edge of the page. If this occurs, it will be a

disadvantage for its aesthetic as the layout elements might be cut during the printing

process. (Ruslan, 2009, p.64) Whereas the grid eases to determine the placement of the

layout elements and to keep the unity and consistency especially for the design works

which have several pages such as books or magazines. (Ruslan, 2009, p.68)

  25  

2.5.2 Types of Children’s Book Layout

There are several types of layout that are commonly found in children’s book

such as follows:

1. The layout of text and picture are on different pages

The illustration is put on one page without any text whereas the text is put on the

next page with a slight illustration or without any on the page.

   

Figure 2.5. Layout of Text and Picture are on Different Pages

2. The layout of text and picture are on the same page, the picture

dominated the page

The text is on the same page with the picture yet with a less smaller portion. It is

used for books of children in the earlier years.

 

Figure 2.6. Layout of Text and Picture are on the Same Page,

  26  

The Picture Dominated the Page

3. The layout of text and picture are on the same page, with a balance

portion

The text and picture share the same portion in a page. Usually used for books of

growing up children.

Figure 2.7. Layout of Text and Picture are on the Same Page,

With a Balance Portion

4. Layout in boxes

There are some illustrations with the same relative measure on one picture. Each

illustration is supported by the description of the text.

Figure 2.8. Layout in Boxes

  27  

5. The layout of text dominates the page

The illustration is only as an unsure supporting text. This type of layout can be

used for children’s books that enter a young adult phase.

Figure 2.9. Layout of Text Dominates the Page

6. The layout of illustration as a border surrounding the text

The illustration’s role is just to describe the text or as an unsure decorative

merely, usually found in poetry book or short stories collection.

Figure 2.10. Layout of Illustration as a Border Surrounding the Text

2.6 Theories of Illustration

In a common sense, illustration means picture or photo that follow a manuscript

in a book, magazine or mass media to elucidate it. Illustration derives from the Latin

  28  

word illustrare which means to lighten or to decorate. The distinctive character of

illustration means a picture that enliven the books’ page as a creative painting which has

the apart of beauty in combination with the using font.

Referring to Persatuan Desain Grafis Indonesia (PDGI), an illustration has

distinctive characters as follows:

• Genuine and creative creation.

• Confident and sophisticated painting skills.

• Congeniality between illustration and text.

• Creative.

• Define the significant and eye catching location.

• Image could be conveyed to the customers and fill the orders.

• May influence and astound the feeling of consumers.

• Using the right time and stuff

2.6.1 Media of Illustration

In general, illustrations can be made traditional media or digital media. On the

other hand, some people create an illustration by combining both media, shortly referred

as mix media.

1. Traditional media

Traditional media is a media to draw illustrations manually. Tools used in

making a traditional illustration also vary. Traditional drawing aids include

pencils, colored pencils, markers, charcoal, pens and gouache. (Tumminelo,

2008, p.239) Example of traditional artists are Beatrix Potter and Quentin Blake.

  29  

2. Digital media

The process from sketching until the finishing is done by using a computer,

People use programs such as Adobe Photoshop, Corel Draw or Paint Tool SAI in

doing their illustrations. Mouse and drawing tablets are gadgets made for helping

to draw digitally. Example of Digital artist is Kagaya.

3. Mix media

An illustration made by mix media is an illustration made by combining

traditional and digital media technique. As an example, an artist draw an

illustration using pencil and drawing pen and scans the drawing into the

computer. Then the artist colors the illustratiom and adds finishing touch with a

digital program.

2.6.2 Styles of Illustration

Types of illustration can refer not only to the media, but also to the way in which

an artist creates a special style in his/her illustrations that makes them unique and easy to

distinguish. Style in its simplest sense is a manner of expressions. (Kiefer, 1988, p.261)

Some famous styles of illustration are:

1. Realistic style

Illustration style that describes obviously the visual object caught by the visual

senses and make the most alike with the original one.

  30  

 

Figure 2.11. Realistic Style Illustration

2. Cartoon style

Illustration style with a simple, distinctive character, funny and very popular

among children. This style is friendly, familiar in visual sight as it is simplified

generally from the real object.

 

Figure 2.12. Cartoon Style Illustration

3. Cartoon realistic style

Illustration style that combining the realistic style and cartoon style. This style is

seen in humorous cartoon work pictures such as caricature.

  31  

 

Figure 2.13. Cartoon Realistic Style Illustration

4. Surrealistic style

Illustration style that describes imaginations or dreams, obvious with the limits

between reality and dreams.

         

Figure 2.14. Surrealistic Style Illustration

5. Expressionistic style

Illustration style that specialize the freedom to convey expression in creating an

illustration with the intention to get free objects as well. This style is very

  32  

expressive and original such as doodle drawings.

         

Figure 2.15. Expressionistic Style Illustration

6. Decorative style

Illustration style which the visual forms depends on the art of using lines, spaces,

colors and composition with the total resut in a flat form.

 

Figure 2.16. Decorative Style Illustration

2.6.3 Roles of Illustration in Children’s Book

An illustration is very crucial for children while they are reading as it is

integrated with the content. Children are prone to watch pictures in the book directly to

imagine what the contents of the book is. Therefore there are books for children which

shows illustration only. The total amount of illustration in children’s books is usually

plentier than in adults because illustration is very helpful for children to understand and

  33  

comprehend the conveyed message. In fact children construct meaning and respond to

illustration even before they learn to read words, illustration evoke both cognitive along

with aesthetic understanding and response furthermore children as young as 14 months

of age express preferences for specific types of illustration. (Stoodt, 1995)

Children’s book illustration is the best way for making children to understand the

concept since it can reduces the workload of studies of children. Moreover, it also

induces a habit of reading which helps in knowledge enhancement and can increase the

interest of children in studies. In short, illustration is a great help in the children’s

learning process.

According to Murti Bunanta, a practitioner and supervisor for children reading

book, there are at least three roles of illustrations for the children, i.e.

• Illustration should be able to give space for the children to do their own thinking

and imagination.

• Illustration should be able to arouse the children to know about estetique.

• Illustration should be able to give convinience for the children in the reading

process.

From the theory above it is clear that illustration in children’s book hold many

benefits towards children since it can stimulates children to participate actively in

literacy experiences, cultivating their aesthetic responses, exercises their imagination

and expands their knowledge.

  34  

2.7 Theories of Color

Color is a very expressive element of children’s book especially in its

illustration, conveying temperature, personality and emotion. (Stood, Amspaugh and

Huns, 1996, p.121) Color can be concluded also as a powerful and highly provocative

design element that becomes a property of light energy. (Landa, 2010, p.19)

Children book artist needs to use various colors to bring focus on the children’s

book elements, emphasizing the characters, creating a mood and supporting the aesthetic

of visual experience. Every color holds positive or negative meanings depends on the

artist’s usage. (Rustan, 2009) Warm colors (red, yellow, orange) is used to create

feelings of excitements, energy, friendship and anger while the cool colors (blue, green,

purple) are used to create peaceful, quite moods or sometimes sad or depressed situation.

The result is that the information contained in illustration will be clearer to the children

readers.

In the book “Color Index” of Krause (2002) is described that color wheel is the

basic way to describe colors and their connections with each other. There are several

classifications of color. One of them is primary color which consist of red, yellow and

blue. Secondary color is halfway between each color, i.e. orange, green and violet. The

third is tertiary color which is a mixture between primary and secondary color.

  35  

Figure 2.17. Color Wheel (Primary, Secondary, Tertiary)

With the primary, secondary and tertiary colors, we can create color harmonies

to describe the relationship of certain colors to be combined to create a palette of colors.

There are three types of relationship in color harmony. Complementary is a harmony of

two colors on the opposite side of the color wheel, analogous is a harmony of colors

whose hues are adjacent to one another on the color wheel and triadic is a harmony of

three colors equidistant from one another on the color wheel.

   

Figure 2.18. Color Wheel (Complementary, Analogous, Triadic)

According to Henry Munsel, the color system is classified into three main

components, hue, value and saturation. Hue is where the color is positioned on the color

wheel such as red, blue, green. Value is the general lightness or darkness of a color.

  36  

Saturation is the intensity or level of chroma of a color that refers to the brightness or

dullness of colors affecting the meaning and mood of illustration. (Stood, Amspaugh and

Huns, 1996, p.121)

Figure 2.19. Hue, Value, Saturation

2.7.1 Color for Children

The color usages for children story book should be bright, attractive, colorful and

eye catching colors. Light and radiant colors are just not attractive for children but also

make them understand easily. Dark colors will be the second choice although it can also

create a suitable and certain character like show about night time, scary, bad mood, outer

space or other environment situation.

It can be concluded that artist should be careful in choosing colors in order to

create an ambience that is suitable for children. Bright colors will be the prime color use

for children’s book while dark colors will be the secondary choice.

2.8 Theories of Typography

Typography is the design of letterforms and the arrangement of them in two

dimensional space. (for print and screen based media) Type is used as display or as text.

  37  

Display type functions as a dominant typographic component and is usually large or

bold, commonly used in titles, headings or headlines. Text type is the main body of

written content, usually in the form of paragraphs, columns or captions. (Landa, 2010,

p.44)

2.8.1 Classification of Typefaces

Typefaces are divided into two variations, which are serif and san serif. Serifs are

the small strokes located at the upper and lower ends of the major strokes on a letter and

san serif types are designed without using serif on it.

Based on their serifs, typeface can be divided into four more variations according

to Carter et al (2007):

1. Old style

The serif are bracketed or ended with a curved line and the top serif of its

lowercase letters are at an angle. Example of old style fonts are Garamond and

Times New Roman. (Carter, Day and Meggs, 2007, p.36)

2. Transitional

These typefaces can be identified by the contrast between the thick and thin line

which is greater than the old style typefaces. Its lowercase serifs are more

horizontal. These transitional characters are wider than the old style’s. Example

of transitional fonts are Baskerville and Bookman Light. (Carter, Day and

Meggs, 2007, p.36)

3. Egyptian/slab serif

These kind of typefaces have thick heavy strokes with unbracketed thick,

  38  

rectangular serifs. They often have minimal curves and all strokes are the same

weight. Examples of egyptian fonts are Clarendon and Rockwell. (Carter, Day

and Meggs, 2007, p.36)

4. Modern

These typefaces have extreme contrasts between thick and thin strokes. They

have a strong geometric quality projected by horizontal, vertical and circular

forms. Example of modern fonts is Bodoni. (Carter, Day and Meggs, 2007, p.37)

As for san serif:

5. San Serif

These typefaces obvious characteristic is marked by the absence of serif. The

strokes are uniform, with little or no contrast between thick and thin strokes.

Stress almost always vertical. Many sans serif typefaces are geometric in

construction, others combine both organic and geometric qualities. Example of

san serif fonts are Helvetica and Univers. (Carter, Day and Meggs, 2007, p.37)

There are also typefaces that do not belongs either serif or san serif:

6. Script

Scripts are the typeface that looks like handwriting. Example of san serif fonts is

Eduardo Script.

7. Decorative

Decorative fonts are heavily decorated typefaces and suitable only for display

purpose. Example of decorative fonts are Jokerman and Churli Cute.

  39  

Figure 2.20. Classification of Typefaces

2.8.2 Typography for Children

Typography in children book has to be able to communicate the story to the

readers. Typography for children should look friendly, comical, and happy. (Caglayan,

2007) Most children learn to read going letter by letter, until they can blend the sounds

together to form words. So by choosing the correct typeface design should be consider

about their perception, learning and reading motivation.

1. Text legibility

Ilene Strizver, a founder of the Type Studio and typographic consultant stated

that when selecting a typeface for a children’s text, look for a warm, friendly

design with simple, generous letter shapes. Typefaces with larger x-heights are

generally easier to read than those with short x-heights and this is especially true

for children. For young readers, select designs with one story ‘a’s and ‘g’s (also

called infant characters) since these are the lowercase shapes preschool and

school age children learn to write. As long as they avoid any extremes that could

weaken readability, san serif or serif designs can be used. For example:

  40  

• Do not use expanded typefaces, which make the character recognition

more difficult.

• Select a book or medium weight, stay away from hairline or very bold

weight.

• For using italics, make sure they are easy to read.

2. Making the text readable

To make the text readable for new readers, the text must be set largely and with

very generous leading. This will make easier for the readers to follow words

from left to right and jump their eyes from the end of one line to the beginning of

the text. Dense blocks of type should not be used. It can be very intimidating to

young readers. Avoid all the cap settings, as they are difficult for all readers.

Much contrast must be made between the type and the background. This is true

when setting light type against a dark background as is common in heavily

illustrated children’s books. For more than one paragraph on a page, the setting

must consider to use line spaces instead of indents to separate paragraphs. This

will give the text and the reader a visual break.

3. Headline and title

For headline or title is more playful in style, color and layout, since there are

fewer words to read. To attract and to entertain children readers, decorated

typestyles, lots of color, curved and jumping baselines can be used. The key to

keep a young reader interested and turning pages is to keep it light and fun.